Art Basel Cities: Buenos Aires in Miami Beach

'Disruptions' Catalog

Invisible, 2018

Marie Orensanz

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		Invisible, 2018
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		Cast iron
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		300 x 141 x 75 cm&nbsp;</td></tr></tbody></table>

Invisible is a three meter-high, keyhole-shaped iron sculpture created by Marie Orensanz, a conceptual art pioneer known for her experimental forays into philosophy, mathematics, and geometry. The structure, through which viewers may pass, features the word “invisible” carved out of its upper arch, where it is only apparent to those standing directly beneath it. This is a signature element of Orensanz’s work, in which she frequently employs language that simultaneously enhances and destabilizes potential readings of the work. Such language-games evoke the philosophical concepts developed by Ludwig Wittgenstein, who posited that the meaning of a word or sentence relies entirely on context, or the “rule” of the “game” being played. Here, Orensanz suggests a game with the word “invisible” – which of course contains its opposite, “visible” – that is either evident or hidden, depending on a viewer’s proximity to the piece. As viewers move through and around the sculpture, the perforated letters offer an invitation to see beyond what is in front of their eyes and consider the possibilities of imagination.Invisible is presented by&nbsp;Alejandra von Hartz Gallery.Production CreditsFabricator: Dante Martínez Tisi Custom Metal Manufacturers.Special thanks to Jorge and Darlene Pérez; Patricia Garcia-Velez Hanna; Anelys Alvarez; Mercedes, Rosario and Maria Audras; Galería Ruth Benzacar; and Alejandra von Hartz Gallery.

<ul><li><a href="https://www.artbasel.com/events/detail/10104/Art-Basel-Cities-Buenos-Aires-Artist-Talk/6803">Artist Talk | Saturday, December 7, Collins Park, 4:15–4:45pm</a></li></ul>

You are invited to walk through the artwork.

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		Born 1936 in Mar del Plata, Argentina&nbsp;
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		Lives and works in Paris, France&nbsp;&nbsp;
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A revered figure of Argentine art, Marie Orensanz explores themes of fragmentism and incompleteness through poetic sculptures, installations, drawings, and photographs. After studying with Emilio Pettoruti and Antonio Seguí, she moved to Paris and in 1964 was awarded first prize at the salon of the Union des Femmes Peintres et Sculpteurs. In 1973 she moved to Milan and wrote the manifesto EROS, in which she first employed her famous phrase, “Thinking is a revolutionary fact,” which is also the name of her iconic sculpture at the Parque de la Memoria in Buenos Aires. Her pieces have been exhibited around the world, including the Centre Georges Pompidou and the Bibliothèque Nationale in Paris; the Neues Museum Weserburg, Bremen, Germany; and the Museo de Arte Latinoamericano Contemporáneo de Managua, Nicaragua, among others. Recent solo exhibitions include ‘Marie Orensanz: Variaciones sobre un mismo tema’ at the Museo Municipal de Bellas Artes Juan B. Castagnino in Rosario, Argentina (2003), and the retrospective ‘Marie Orensanz: Obras 1963–2007’ at the Museo de Arte Moderno de Buenos Aires (2007). Orensanz also took part in the acclaimed survey ‘Radical Women: Latin American Art, 1960–1985’, curated by Andrea Giunta and Cecilia Fajardo, which was presented at the Hammer Museum, Los Angeles (2017), the Brooklyn Museum, New York (2018), and the Pinacoteca do Estado de São Paulo, Brazil (2018).The artist is represented by Alejandra von Hartz Gallery, Miami; School Gallery/Olivier Castaing, Paris; Sicardi Ayres Bacino, Houston; and Galería Ruth Benzacar, Buenos Aires.<a href="http://ttps//artbaselcitiesba.com/?cat=44">Accedé a la versión del catálogo en español</a>.

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Marie Orensanz

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